Messages - deadjew

I'd say that good bands tend to have good ideas sprinkled all over the shitty section of their careers. It would make it more a matter of routine and fans demanding more albums - turning the band into a job rather than a (metaphorically speaking) side project to their day to day lives. This doesn't leave much time and sanity for taking a break, listening to the crap with a clear mind and deciding to start over again if it sucks. This sort of intimate relationship with the fanbase turns into an atmosphere of confidence where everything goes, and, well, they'll understand if the new album isn't as good as the last one; the good one.

Concerning the statement by Wolves in the Throne Room...I can't help the optimistic smirk on my face. Wasn't this - twenty years ago - the point where a certain group of individuals decided to abandon death metal for its social transformation into 'life metal' and make 'something' that wasn't occupied with petty politics and giving out PC disclaimers?Hail Averse Sefira. Hail all of the good shit from hi.arc.tow. Videos like these make it obvious that the black metal bandwagon is too dilapidated to try to save anything.Look ahead!

Well yes, the wojewoda with a województwo (voivodeship) as an administrative office came to be sometime in the 16th century (or possibly a bit earlier), and still exists sans any military competence. I don't think it's strictly Polish, given that the name boils down to:- wój - warrior- wodzic - to lead...which I believe are quite archaic, commonly Slavic words.

Concerning Vlad Tepes - most of us folks from Osteuropa will find the example hilarious, as voivodes possibly exercised functions as diverse as the rulers they answered to. It's kind of like trying to define a difference between a duke and a ksiaze (which can mean "duke" in Polish) and specifically finding a Slavic example of such.

Props for bringing up the subject. Me and a homie of mine are currently trying to achieve something of the sort using only two guitars. It seems that at some point it might be only a matter of production values - Fenriz stated in an interview that "the drums are just there", which I interpret as occupying a specific frequency, so that the recording doesn't sound as if it had undergone an amputation.

In general, a "no drums" policy is quite a good incentive for creative thinking and planning out structures. If a song lacks direction, there's no drum hook to create some instant dynamics and save the day.

Getting the 'right' job isn't as crucial as properly relating it to the rest of your life. After ending a short-term desk job involving accountancy and auditing I was genuinely sick of correcting mistakes and digging through heaps of paper which would've smaller at least by half, had the other employees done their work with some wit. Currently, I'm translating computer manuals of the softcore variety (graphics editors, XML), which is both enjoyable (flexible schedule, no contact with idiots) and instructive (you tend to do some research on the topic).

Seemingly destructive jobs, such as advertising, might be quite useful, once you think about it. Hint: is trolling really that far away?

I'd take a synthetic stance here. A person communicates his own experience, and therefore expresses himself - which doesn't presume that the person in question is in any way self-obsessed. It seems to me like a matter of living in a degenerate age. We ponder on Bach's (or Varg's) childhood in order to uncover the "superpersonal" you mention, meaning that which led our endeared artist to communicate those ideas, or possibly just open his eyes to the objective.

This is the issue I tried to point out: while most of us know angst when we see it, it's easy to succumb to the opposite and identify any personal/"subjective" experience with disjointed vomit, as well as lose the trail altogether and worship the individual, rather than treat his life as an integral element of the divine construction.

Imagine a sage or retired warrior telling his tale by a fireplace. I've been fiddling with this visualisation for a few weeks or so, and it still seems like a reasonable modus operandi.

It's a reasonable stance to treat a work of art as another person, giving it the benefit of the doubt and trying to understand what its intended message is. This relates to putting things into context - no song, or album, or band is a creation which justifies its own existence by the sole virtue of its existence (a vicious circle which aestheticists seem to overlook), and therefore is but a segment of its creators life, worldview, or possibly a subtler structure of thought and feeling.On a sidenote, stating that "the music is the person" might seem risky - it serves as a pathway that leads us to a general model of how music relates to the musician and/or composer; this route is open only to those who can fling aside the egalitarian/utilitarian paradigm and state the obvious: some people have something relevant to say, and others don't. Some people can do that - most can't or don't really give a shit.

A simple and powerful theme along with constant percussion makes Mars eligible for reuse in soundtracks. Listen to its ending and compare with what's played during the destruction of the Death Star. You'll find Holst all over Star Wars, Star Trek, and any other space opera.

Bathory - Under the Runes (0:47) & Sentenced - Nepenthe (0:35)I'm not sure as to whether Sentenced decided that Bathory isn't popular enough for anyone to notice, or was it thought out as some sort of tribute/reinterpretation. Then again, this might be a coincidence.

And their lyrics aren't the traditional leftist garbage by most mid-90s grind.

They still use Marxist rhetoric and concentrate on criticizing modern society from an anti-traditionalist standpoint without explicitly providing any alternative. I write "explicitly", as I agree with the notion that their lyrics aren't run-off-the-mill lefty satire/propaganda - more like a disoriented laborer's version of "Industrial Society and Its Future" which is accurate in its criticism, but unsure whether the ideas that stand behind it would be capable of setting a realistic strategy for war against the status quo. That aside, Assück are indeed both unique and excellent as Epic Ambient Transcendent Grindcore (which was a description that naturally occurred to me when I first heard "Anticapital").

Maybe not, but their two full-lengths were quite refreshing due to their return, or maybe: reinterpretation of the "gothic punk" identity of black metal. It seems to me that the motives of PN are completely bone fide, though largely confused. http://www.lesdiscrets.com/pestenoire/index.htmlAn interview with the guy behind PN shows us that he's well developed philosophically, regardless of the fact that some of his statements seem to express a destructive mindset. However, those ideas seem quite Evolian, and I feel that most disagreements between PN and your typical ANUSite would be grounded in semantics, rather than worldview.Regardless of all the philosophical babble, confusion is audible in the music. At its best, Peste Noire seem to continue Black Sabbath's conceptual legacy, i.e. where Sabbath did horror soundtracks, this band feels like a French experimental existentialist movie rendered into sound. Then it reverts to an instrumentally accomplished version of Absurd, to finally plunge into grim indie rock with black metal distortion. PN lacks the integrity to even undergo a reliable evaluation of relevance of their ideas, but then again, I'd say that their aesthetics are an interesting realm for exploration, not simply novel and 'cool'.

It's restrictive, though I wasn't deriding rock stylings as much as looking for more (modern) music that doesn't adhere to that standard. Then again, wasn't Filosofem good in spite of the elements you mentioned, while not exactly defined by them? (I'd still choose HLTO over Filosofem, though).